These two giant chairs, by Yinka Ilori, are currently on display next to the Royal Victoria Dock. One represents happiness and the other pride, though the fact that I can’t tell which is which is perhaps a marker of their limited success.

Unveiled earlier this year, this is Belfast’s statue of Winifred Carney, recognising her role in the 1916 Easter Rising and her commitment to social justice. As she was often described, she is depicted with her typewriter in one hand and her Webley pistol in the other.

The statue was unveiled on International Women’s Day along with one of abolitionist Mary-Ann McCracken. These are the first two statues of non-royal women at Belfast City Hall. In a bizarre twist, they were unveiled in the presence of actors dressed up as them, which was… a choice.

Photobombing in the background is Sir James Haslett, who was Mayor of Belfast from 1887 to 1888. He was also an MP and a chemist.

It might be All Saints’ Day today, but I’m afraid I’m picking on just one of their number: St Columbanus, who walked this Earth back in the 500s AD.

He seems to have been a bit of a character: it is said that squirrels used to run down from trees and into the folds of his cowl to be close to him. I think this is supposed to be charming, but it frankly sounds like a massive hassle: he clearly had a lot to contend with.

His life is commemorated through a trail of seven bells in Bangor: the squirrels might have left him alone in death, but the Northern Irish are still keen to knock seven bells out of him. Poor guy.

And, as a rubbish blogger, I’ve only managed to take pictures of six of them. The first one of the trail is a giant bell, and I didn’t notice it, because I was too preoccupied with this: the oldest wall in Bangor:

The commemorative plaque omits to tell us when it was built, beyond a vague ‘13th century’, but it does let us know that the Council did some work on the wall in 2008.

Anyway, this means I can’t show you the first stop on our ‘interpretive art trail’ (not my words). So you’ll just have to imagine a giant bell with a wavy surface, commemorating Columbanus’s childhood journey across Lough Erne to the Island of Cleenish for his early education.

After leaving Cleenish, Columbanus went to Bangor Abbey… a time which is weirdly not commemorated on this Bangor trail. Instead, the second stop on our journey records him leaving Bangor to travel to Brittany.

While in Brittany, Columbanus worked to ‘root out the lusts of the flesh’. I imagine that being covered with squirrels might have helped with that.

He also founded a school in a former Roman fortress in the mountains. It became so oversubscribed that it eventually needed new premises, which he founded at Luxeuil:

While there, he met Gallus—another monk who had been taught at Bangor Abbey—who began to follow him. He originally came from somewhere on the French/German border, which will become important later.

The bells then seem to skip the bit of Columbanus’s life where he hid in a cave for a few years in search of solitude. They also have nothing to say about his spat with some bishops over the date of Easter: he wrote to Pope Gregory I and Pope Boniface IV on the point. Gregory ghosted him, and he folded before Boniface could reply.

I think this is a fascinating bit of his story, with much to say about the interaction between the divine and the human in the making of Christian festivals, and I’d definitely have dedicated a bell to it, but I’ve never been asked to make even one interpretative artistic bell in my entire life (to date).

Anyway, we skip ahead to Columbanus being thrown off a ship following a storm. The captain judged that the storm was god’s punishment for transporting Columbanus. Columbanus ended up at Bregenz in Austria, where he built an oratory:

And this is where Gallus’s heritage becomes important: as he could speak the local language, he played a big role in helping Columbanus convert the locals to Christianity.

And—local connection alert—Bregenz was twinned with Bangor in 1987 ‘in celebration of this important historical connection’ (not my words).

Since 2001, Bangor has also become a ‘sister city’ of Virginia Beach in the United States, though I regret to report a lack of connection to Columbanus. This relationship exists ‘because of the similar port area, military affiliation, and oceanfront tourist attraction’.

Back to Columbanus, whose time at Bregenz wasn’t going so well: a war had resulted in the area being subsumed into Burgundy, and a few of Columbanus’s students had been murdered. So, like any man of God, Columbanus prayed hard for a peaceful resolution and stayed to help defend his adopted community ran off to Italy.

Gallus, however, stayed behind, in hiding in a little cell. Eventually, long after his death, an abbey was built in his honour. Little-by-little, the Swiss city of St Gallen grew up around it, and, in 1983, the abbey area became a UNESCO World Heritage Site.

Oh, and there’s also this:

Meanwhile, Columbanus was living it up in Milan, where he was welcomed by the King and Queen of Lombardy. He once again set about converting the locals:

The Bangor Antiphonary, a historically important 36-leaf book of hymns and prayers put together in Bangor Abbey about a century after Columbanus’s death is somewhat inexplicably in Milan, though no-one seems particularly vexed by that. I suppose to many in Northern Ireland, it’s better than it being in one of the London museums, where it would probably have ended up had it not been taken abroad. Maybe they’d have loaned it back to the locals occasionally, like the Lindisfane Gospel.

The King of Lombardy gave Columbanus a tract of land at Bobbio, near Milan, to build a monastery—where, ultimately, Columbanus died and was buried:

Twenty years after Columbanus’s death, Jonas of Bobbio wrote a biography of him—the first known biography of an Irish person. And in 2002, because of his history of travelling through Europe, the Vatican declared St Columbanus to be the patron saint of motorcyclists… which honestly feels like a stretch.

But as for the bells—well, I think that we have to count them as a success. I’d never heard of the bloke before I saw them, and now know I’ve written (and you’ve read) a 1,000-word treatise about him.

And that’s the power of interpretative art trails… maybe.

Okay, that’s enough memorials… but how about another mosaic?

This triptych at Whitley Bay station was installed in 1983, only three years after the Metro replaced British Rail services to the station. They cover up the old ticket windows.

A plaque records that:

This mosaic was made by the following young people of the Projex Agency under the supervision of Ian Patience

A J Murphy, L Spoor, J Blyth, A Thompson, C Rafferty

Assisted by

D Munro, T Emery, C Higgins

The work was jointly sponsored by Gateshead MBC, Northern Arts, Tyne and Wear Passenger Transport Executive and carried through the Youth Opportunities Programme of the Manpower Services Commission

Hilariously, these days, ‘Projex Agency’ appears to most commonly refer to a modelling agency ‘that transforms average ladies into top-tier global influencers’ by helping them to grow the popularity of their 18+ OnlyFans accounts. I’m not sure that’s the sort of thing Gateshead MBC and Manpower had in mind forty years ago.

This colony of nine penguins sits on Redcar promenade. As I wandered past, I found myself contemplating the artistic intent. Two of the penguins are off to the side looking out to sea, and one—as can be seen in the background of both of these photos—appears to be inspecting another artwork.

The installation has, in fact, been moved three or four times since its 1994 installation, including once to make way for the bandstand. They were designed by the artist Tony Wiles, who was commissioned by the Council to create a ‘jolly’ addition to the esplanade.

The Council in question was Langbaurgh-on-Tees Borough Council—renamed in 1996 as Redcar & Cleveland. I’m surprised that I’ve never come across that historical nugget before—I don’t recall ever seeing a reference to Langbaurgh anywhere!

Henry and Joyce Collins were famed for making concrete murals. This photograph shows a portion of their mural ‘Newcastle through the Ages.’ This was part of a series they created for various branches of British Home Stores in the 1970s, by which time the pair were in their 60s. The Newcastle building to which this mural is attached is now occupied by Primark.

The Twentieth Century Society is keen on protecting post-war murals. I was surprised to see that Primark, with their extensive re-cladding of the BHS building, didn’t just get rid of this one—neither the mural nor Primark are to my taste, but I suppose there’s something commendable about protecting civic art.

Pillar Man, which I showed you a few days ago, isn’t Nicolaus Widerberg’s only sculptural contribution to Northumbria University: he has quite a few scattered around the place.

This 2013 piece is called Collar and Wave.

This is Hoop-La (2014), a sculpture by the American sculptor Alice Aycock in the Princess Estelle Sculpture Park in Djurgården, Stockholm. It was, in fact, the first piece acquired for the park.

I found it intriguing: it combined scale with real detail and finesse. The whole form seemed to change as I puzzled my way around it. I wasn’t quite sure what to make of it at first, but found it intriguing. And, in the end, perhaps to be intriguing is perhaps the point of the work.

A few weeks ago, I showed you Tom Grimsey’s artwork marking the Lort Burn, one of Newcastle’s ‘hidden burns’. Above is Nicolaus Widerberg’s contribution to the same project: this 6.4m tall bronze sculpture and its meandering granite plinth mark the path of part of Pandon Burn which has been culverted for hundreds of years.

When the artwork was installed in 2004, it was in front of a big white wall which was part of an extension to the University’s gallery. The setting has changed considerably since then: the less stark background and the planting around it make it feel a more natural part of the landscape.